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- Dumitrescu, Delia, et al.
(författare)
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On researching and teaching Textile Design : examples from the Swedish School of Textiles
- 2018. - 3
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Ingår i: <em>Soft Landing</em>. - Helsinki, Finland : Cumulus International Association of Universities and Collegies in Art, Design, Media. ; , s. 72-87
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Bokkapitel (refereegranskat)abstract
- Artistic research in design is relatively new compared to experimental research in the natural sciences but it has matured a great deal over the last decade. Its extensive development has brought new challenges to professional practice, and also raised questions regarding how knowledge should be imparted in academia. By examining the field of textile design, which has traditionally been taught in close synergy with professional practice, we can discern the emergence of doctoral theses that have brought not only new perspectives to textile practice but also a new role to the design educator as a researcher within the academia. One of the challenges that design education program are facing, however, relates to creating a better connection between research and education in order to continually enrich curricula with new developments in the field, so that basic knowledge and novelty can interact. By looking closely at the development of the research environment at The Swedish School of Textiles and the interaction with undergraduate and postgraduate education, this chapter describes how research has informed the development of textile design education.
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| 3. |
- Dumitrescu, Delia, et al.
(författare)
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Silent colours: Designing for wellbeing using smart colours
- 2018
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Ingår i: Proceedings of AIC 2018 Colour & Human Comfort, Lisbon, Portugal, 25-29 September 2018..
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Konferensbidrag (refereegranskat)abstract
- When used within textile printing, smart colours have expanded the design possibilities for textile patterns as relates to both motifs and, more importantly, uses. Smart colours suggest new functionalities and provide specific perceptions, reactions, and activities in terms of usage. At the same time, the need for peripheral information sources that are less intrusive than many of the everyday devices of the present has continuously been addressed to improve wellbeing, e.g. by making life more manageable and meaningful through the use of technology in everyday life. We aim to increase knowledge of the design qualities of smart colours, which is of use in relation to creating non- or less intrusive ways of displaying peripheral information. This paper focuses on the character of colour transition and discusses different colour-changing possibilities with regard to surface patterns; that is, from the perspectives of different levels of change and complexity and in relation to levels of intrusiveness and information comprehensibility.
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Entangled : reimagining textile functionalities, aesthetics and sustainability
- 2023
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Konstnärligt arbete (refereegranskat)abstract
- In the collection of artefacts presented in this exhibition, textiles are seen as active elements in their environments – being able to react to environmental stimuli by changing their shape, colour or other qualities, exhibiting behaviours similar to e-textiles but without using electricity. Drawing parallelism to biological materials, some of these changes are two-directional and thus can lead to reversible changes, whereas some are linear and irreversible, such as ageing. As examples of two-directional changes, textile designs based on UV reactive properties: colour changing, light emitting, and self-cleaning, as well as textile constructions based on newly developed yarns capable of reversible shape changes upon exposure to heat, are exhibited. On the other hand, the colour changes of natural dyes dictated by the ambient environment and the response of new PLA yarns bring about elements of irreversible change. When two-directional and linear changes coexist, the appearance (and thus aesthetics) of the artefacts is constantly altering. The timescales contained in these textile transformations vary significantly, creating an interesting interplay of diverse and sometimes intersecting qualities. These concepts are approached from different levels of study – from developing new advanced materials for making yarns to exploring different textile crafting methods for producing diverse textile structures, construction and aesthetics, as well as moving towards shape-morphing 3D textiles, where exposure and disappearance of different properties as a function of changing textile shape can occur.
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| 5. |
- Landin, Hanna, Doktor, et al.
(författare)
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Textile Intersections Exhibition : Collaborations in Textile Design Research
- 2023
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Annan publikation (refereegranskat)abstract
- The 3rd edition of the TEXTILE INTERSECTIONS conference explores and celebrates the nature of collaborations in textile design research through six themes: Textiles and Architecture, Textiles and Sports, Biotextiles and Sustainable Textiles, Interactive and Performative Textiles, Advanced Textiles Materials and Processes, Critical Textiles.The exhibition is held at Loughborough University London 20–23 September 2023, and organised by the Textile Design Research Group at Loughborough University in collaboration with Royal College of Art, London, UK, the Swedish School of Textiles University of Borås, Sweden, and Elisava, Barcelona, Spain.
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| 6. |
- Peterson, Karin, 1979-
(författare)
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Form-defining systems of reverse crafting
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Textile-form as dress is often synonymous with the form-defining system of cut and assemble, and as such, cut and assemble can be argued as that which defines as well as restrains this discipline. The following work is an inquiry that aims to investigate alternative methods of form-thinking and manufacturing, and their aesthetic consequences for dress. This practice-led venture, explores other imaginaries both as initial point of departure and final objective. As such, the work strives to incrementally increase understanding of the accumulated traces that inform processes of forming and thus come to actively affect the structuring processes and outcomes of an experimental system that seeks form-defining systems as other realities, for, and of dress as textile-form. The context is the interdependent relationship of cut and assemble as a method for artistic practice and a system for manufacturing dress. Historically developed as a method and a craft practice for bespoke, on-demand production, cut and assemble is regarded by many as unsuited for industrial manufacturing. Driven by a high turnaround neo-capitalist system, its manufacturing industry is repeatedly described as unsustain-able, both in regards to environmental and social challenges. However, while there is an increasing search for alternatives, these commonly seek to maintain the linear processes of cut and assemble. Alternative proposals seldom take into consideration that systems of manufacturing rely on the methods of conception and vice versa, and that both entities need to be speculated dependently and in tandem. Therefore, this research explores processes of transposition through and within other imaginaries into form-defining systems for textile-form. It speculates the aesthetic conse-quences of dress through material and immaterial investigations neither commencing nor ending with the cut and assembly of mass-manufactured, roll-based textile. As such, the work explores the informing of textile-form through actual and virtual media and material inherently different to those of cut and assemble. This allows the implementation of tools and apparatuses generally not used within systems of dress, and investigates as well as integrates these through an elastic and experimental process, rather than as add-ons to a closed circuit of current practice. The work further elaborates on the theory of reverse crafting as a way of using other realities to facilitate alternative form-defining systems of dress, in a future where craft knowledge is foremost required at the initial stages of interpreting and developing that which is to be conceived rather than at the stage of manufacturing.
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| 7. |
- Peterson, Karin, 1979-
(författare)
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Reversed Crafting
- 2020
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Reversed Crafting is an inquiry that aims to investigate alternative methods of form giving and manufacturing and their aesthetic consequence for dress. It is a practice-led venture that explores alternative materials and mediums through digital and analogue tools, rethinking what dress can be if not relying on currently dominant processes of form-giving and production. Its context is the interdependent relationship of cut and assemble as a method for artistic practice and as a system for manufacturing. Historically developed as a method and a craftsmanship for bespoke, on-demand production, cut and assemble is regarded by many as unsuited for industrial manufacturing, often directed by a high turnaround capitalist system. As an industry it is often described as unsustainable, both in regards to environmental and social challenges. Currently, the field is experiencing an influx of 3D digital tools, both directed at final production and form giving. Often arguing a democratisation of both design and manufacturing, the integration of 3D digital tools to the field are highly anticipated. However, commonly migrated from other disciplines, these methods are often merged with cut and assemble, rather than investigated as holistic and real alternatives. In relation to digital manufacturing, the perceived absence of suitable materials for the final artefact is far more debated then what to produce when these materials inevitably become ready at hand. Arguably, these methods of digital manufacturing, the technical how, has a plethora of real or speculated solutions. Nevertheless, the question of what, through an aesthetic reasoning, these techniques can suggest or enable as examples of dress are often less considered. Therefore, the work presented in this licenciate wish to speculate on aesthetic consequences of dress through physical investigations neither commencing, nor ending with the cut and assemble of textile on roll. It proposes the notion of reversed crafting as a way of thinking in order to facilitate the making of dress in a future system where craft knowledge is foremost required at the initial stages of interpreting and developing what is being produced rather than at the actual stage of production.
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| 8. |
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Pliant flesh
- 2019
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Konstnärligt arbete (utställning/event) (refereegranskat)abstract
- The Pliant Flesh is a piece built up with a semi-firm body onto which two layers of thinner skins are attached with electronics in between. Pressing hands onto it, it will answer pliantly however with some resistance being experienced as firm but not completely stiff. When touched the piece reacts with small vibrations and lights. The vibrations and lights are then spreading out following their own pattern. In the Pliant Flesh the electronics are partially visible pointing out that architecture and the technology of a building could be merged and respond to peoples actions. The piece materializes questions on what it is to experience this hybridity. The black Pliant Flesh is a complementary work to the yellow greenish piece Soft Body.
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| 9. |
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Relatedness, appreciation and adaptability-forming design
- 2024
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Konstnärligt arbete (refereegranskat)abstract
- The way we construct our immediate surroundings and our ways of living determine how we relate to the whole world as we know it and how we view our lives in relation to it. In other words, our perspective of the wider world and our role within it is shaped by how the things we use are designed and depends on the ways in which we are permitted to interact with our world through these things. This is the focus of this work, which suggests three interaction design principles to support the process of forming and strengthening the relation between us and the basic conditions of life. These principles are based on the observations made and experiences had during three field trips in areas of wilderness in northern Scandinavia that examined how interactions with essential resources such as water and heat affected the relations of people to these resources. Accordingly, the proposed design principles concern the relational aspect of design in terms of how the actions carried out affect these relations, rather than how the quantities of resources used can be communicated to people through a design or how an interaction will be experienced or engage people. The principles bring up design aspects such as relatedness, value and adaptability.
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| 10. |
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Soft Body
- 2019
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Konstnärligt arbete (refereegranskat)abstract
- The bowels of the piece are soft with encapsulated electronics that are enclosed by a silicon skin. When pressing hands onto it the hands sink into the body. From deep within there is a respond to the pressure of the hands, slow gentle vibrations of the inner building up interaction patterns that define the tangibility. In the Soft Body the electronics are hidden and not clearly located. This fact together with the sense of a highly responsive and fluid material brings the Soft Body far away from what we are used to encounter within architecture of today. The piece materializes questions on what it is to experience highly tactile architecture with material and interaction inner substance and corporal connotation.
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